The Winston Effect

The Art & History of Stan Winston Studio

Jody Duncan (Author), James Cameron (Foreword)

Titan Books

Bookwise Australia

For over 30 years, Stan Winston and his team of artists and technicians have been creating characters, creatures and monsters for the silver screen, from The Terminator and the extraterrestrial monstrosities of Aliens and Predator to the terrifying dinosaurs of Jurassic Park and the fanciful character of Edward Scissorhands. Whether they have been on the stage of a small cult film such as Pumpkinhead or a major classic such as Aliens II, they have always left their make with their professionalism, creativity and innovative approach to problem solving. The creatures they have created have changed the face of cinema and indeed changed what we believed was possible within cinema. Before Jurassic Park nobody believed that dinosaurs could be made so lifelike and at the same time so scientifically accurate. This had ramifications not only within cinema, but within the scientific community with its eye on documentary making.

In this visually stunning volume we get an inside view not only of Stan Winston Studios but of his life and development as an artist. It is quite an amazing tale, from humble beginnings as a would-be actor, through an apprenticeship in movie make-up, to making basic special effects and using puppetry to move slowly into his chosen field. It documents his successes and failures, his attempts at being a director and his final choice at being a uniquely creative special effects coordinator using make-up, digital computer effects, animatronics, indeed whatever it takes.

What is also impressive is that Winston is brutally honest about himself; he discusses the difficult journey he has made and openly admits mistakes and errors. He is more than willing to talk just as much about the creatures that have not worked as those which have, since he sees each as teaching him something about the creative process.

He also openly acknowledges and celebrates those around him. Indeed this is a volume which is as much about his studio and staff as himself. While the name Stan Winston clearly sells the book and markets the studio, it is a team effort and we also get the life story of the major members of his team, many of whom are lovingly referred to as “lifers” as they have worked with him for some twenty years or more.

He makes it clear that his work is a collaboration and the love and affection that his team have for him could not be more evident. In many ways he is the very antithesis to a Hollywood person; loving, supportive, a team player, celebrating the successes of his staff, celebrating their successes and commiserating with their failures. There is no doubt he had a robust ego and can be considered rather blunt and stubborn, yet he is always open to suggestions and advice vice and works in a cooperative leadership role rather than in a confrontational manner.

The way in which this journey unfolds also explores each of the films he has worked on, offering all sorts of insights, reminiscences and memories. While certainly we get a good understanding of the craft of his studio, at the same time we gain a personal view of members of the team of some of the major films of our time. There are all sorts of reflections, “tales out of school” and just plain gossip on films such as Terminator, Predator, Jurassic Park as well as minor yet equally fascinating, and perhaps at times more revealing films, such as Pumpkinhead, Congo and so on.

This balance between technical information and an emphasis on the craft of the studio and reflections on the films and the people they have worked with, makes this quite a unique volume, which will appeal to both the “special effects” buff and to anyone with an interest in cinema history. The Stan Winston Studio has worked on many greatly significant films, for example, doing make-up work on Interview with the Vampire and making the mother Alien for Aliens II, so this book is packed to the brim with interesting snippets you will not find anywhere else.

Especially intriguing is the creativity and innovation of Stan Winston and his team. When puppets were simply seen as outmoded cinematic tools, he used one to dramatic effect in John Carpenter’s The Thing. Nobody would have guessed that the shocking, multi-headed dog which had been transformed by an alien organism was actually controlled by two men inside of it located under the kennel !

Much the same with the mother Alien in Aliens II, combining animatronics, mechanics, puppetry and special effects he was able to achieve something which says in the memory a long time after you watch it.

In Terminator he has was able to create a mechanical limb with a glove which fitted over a woman’s arm who was hidden under the table. A simple yet ingenious method which allowed Arnold Schwarzenegger to look as though he had a mechanical arm, which he could open and repair in quite some graphic detail.

This constant willingness to experiment and innovate is what has made his Studio so well respected. Even in the field of make-up, he first explored the use of multi-piece face make-up rather than full face masks, which transformed the way in way facial make-up was done from then onwards. Time and time again Winston and his crew pushed the edge of the envelope and using daring new techniques achieved goals never believed possible.

While Winston has always loved using physical animatronics and devices, he was also an early adaptor of computers and indeed helped form one of the earliest digital special effects studios and continues to be at the forefront of the use of computer technology with his own Stan Winston Digital. Combining “old school” techniques with the latest innovations but always with a focus on the quality of what is produced, Winston would always tell you he is an artist first, Winston Studios has a unique role in cinema history.

The emphasis on art also comes through the pages of this book. Winston’s approach was that you worked on the art first; the look of the creature was the first consideration and the technology second. His view was if the creature did not look right, then regardless of the technology it would not be a success.

He never allowed the mechanics or computer effects to overtake a project he was given. By focusing on the art he was able to make sure his creatures consistently looked and moved better than those made by by others in the industry.

On a personal level, Winston also fought the prejudice against make-up artists and special effects artists. In a time when make-up artists were treated with little respect, he demanded that they get a byline on each film they work on and be recognized in the Hollywood awards system for what they achieve. His own tenacity and at times, pig headedness, was enough to push through change which not only helped him personally but paved the way for all others who came after him. Indeed, it led to the very first awards for make up and special effects. Winston hence is seen not only as a unique artist and innovator but as a highly respected and admired figure who has helped the growth of his industry in so many ways.

The Winston Effect: The Art & History of Stan Winston Studio is a beautifully produced tabletop book packed with over 300 illustrations, drawings and rare photos.

It includes a vast array of sketches, production art and related materials never before seen outside of the Studios Archives.

The balance of technical information, personal history, anecdotes and memories from major films intertwined into one volume makes this a truly entertaining read. It is not just nice to look at. Every chapter has something interesting new to say, whether it be about innovations made to achieve a certain special effect or to discuss a certain director, actor or film script.

It has been superbly edited so that it really keeps your attention and balances each of the various strands of the story of this highly significant studio. The flow of the text between technical information, personal reflections, art, photographs and sketches really makes this a superior publication.

This is a masterful work of the highest caliber and is a significant volume on a highly important individual and studio which has been involved in many of the more important films of the last 30 years.